St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht


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And it is because of this message that music appeals to people of all races and nationalities. We will print music for the workshop. If you have prepared your own scores and prefer to use them, please bring with you. Please note: you will be singing from your seats in the audience.

There may not be ideal lighting in those positions, so please be prepared to sing without being able to see your music perfectly. You may bring and use a small personal light if you wish. Your will be done, Lord God, likewise on earth as in heaven. Grant us patience in time of sorrow, to be obedient in love and suffering; check and guide all flesh and blood that acts contrary to Your will!

Peter, who did not recollect, denied his God, who yet after a serious glance wept bitterly. Jesus, look upon me also, when I will not repent; when I have done evil, stir my conscience!


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Christ, who makes us blessed, committed no evil deed, for us He was taken in the night like a thief, led before godless people and falsely accused, scorned, shamed, and spat upon, as the Scripture says. He took good care of everything in the last hour, still thinking of His mother, He provided a guardian for her. O mankind, do justice, love God and humanity, die without any sorrow, and do not be troubled! Please note: these tracks are recorded at standard pitch.

Please provide your contact information and click 'Subscribe' below. Audience-Chorus Resources — St. John Passion. Workshop Resources. We are delighted you will be joining us for this exciting choral workshop. Here are all the details you will need and resources to help you prepare. A message from Choral Director Ragnar Bohlin. Sincerely, Ragnar. Download your music We will print music for the workshop. Bach did not differentiate the vox Christi voice of Christ , singing the words of Jesus, from the other bass recitatives and arias, nor the evangelist from the tenor arias.

The work displays a thoughtful symmetry. In the center of the five parts is the court hearing which confronts Jesus, Pilate, and the people. In the middle of the hearing, a chorale 22 interrupts the argument, which is a discussion about freedom and captivity.

It is surrounded by two choral movements, which not only both ask for the crucifixion of Jesus, but also use the same musical motifs, the second time intensified. Again, in a repetition of similar musical material, a preceding turba choir explains the law, while a corresponding movement reminds Pilate of the Emperor whose authority is challenged by someone calling himself a king. Preceding this, Jesus is greeted in mockery as a king, corresponding in motif to the later request that Pilate should change the inscription saying he is "the King of the Jews" to "He said: I am the King of the Jews".

Bach led the first performance on 7 April [10] at the Nikolaikirche St.

Nicholas [11] as part of a Vesper service for Good Friday. Part I was performed before the sermon, Part II after the sermon.


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In version 3, after Bach wrote his St Matthew Passion , he returned the opening chorus Herr, unser Herrscher and the final chorus Ruht wohl to their initial position, but removed the Gospel passages from Matthew and the closing chorale. In version 5 never performed , possibly dating from as early , Bach returned to the first version, but revised it thoroughly. He began a new score which covers 12 movements. As Christoph Wolff observes: "The fragmentary revised score constitutes an extensive stylistic overhaul with painstaking improvements to the part-writing and a partial restructuring of the instrumentation; particular attention was paid to the word-setting in the recitatives and the continuo accompaniment.

Wolff writes: "Bach experimented with the St John Passion as he did with no other large-scale composition", [11] possible by the work's structure with the Gospel text as its backbone and interspersed features that could be exchanged. The first chorale, movement 3, is inserted after Jesus tells the crowd to arrest him, but let his disciples go.

The second chorale, movement 5, ends the first scene, after Jesus remarks that he has to be obedient. The third chorale, movement 11, is inserted after Jesus asks those who are beating him for justification. The fourth chorale, movement 14, ends the second scene and Part I. The fifth chorale, movement 15, opens Part II and the third scene. The sixth chorale, movement 17, comments in two more stanzas from "Herzliebster Jesu" 3 , after Jesus addresses the different people of his kingdom. The seventh chorale, movement 26, ends the scene of the court hearing, after Pilate refuses to change the inscription.

The eighth chorale, movement 28, is related to Jesus telling his mother and John to take care of each other. The ninth chorale, movement 32, is part of the bass aria which follows immediately after the report of the death of Jesus. The tenth chorale, movement 37, ends the scene of the crucifixion. The eleventh chorale, movement 40, ends the Passion. The following tables give an overview of all versions of the Passion, first performed in Voices appear in one of three columns, depending on the text source: Bible, contemporary poetic reflection, or chorale.

The instrumentation is added, using abbreviations for instruments, [29] followed by key and time signature , and the NBA number of a corresponding movement within the work's symmetry. There are no extant Flute parts for this version, so the movements that normally require them have violins instead.

This was performed in For this version of , in addition to the Flute parts which were first used in late after 1. Sunday after Trinity , Bach heavily revised both text and music. He added five movements from his Weimarer Passion , with three texts now thought to be by Christoph Birkmann. This is listed as BC 2b.

In this version, Bach reverted to the original layout thus discarding the previous revisions and additions. However, he decided to compose a true St. John Passion , and thus eliminated the material inserted from the Gospel of Matthew. Now 12c ends in Measure 31 and Movement 33 is eliminated altogether replaced by a lost Sinfonia. He also dispensed with the Lute and the Viola d'amore, replacing them with an Organ and Violini con sordino.

It was possibly performed in and definitely in This is listed as BC D 2c. Essentially a reworking of the Version, this version is the most detail-oriented revision of the work. On 17 March , while still working on this revision, Bach was informed that the performance of the Passion setting could not go ahead without official permission, thus most likely effectively halting any plans for that year.

Download PDF St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht

However, though he had stopped at measure 42 of Movement 10, he continued to work on this revision, as shown by the copyists' score and parts. It is listed as BC D 2e. It was performed in and most likely repeated in It also represents outside of the St. Matthew Passion the largest instrumental ensemble used calling for 3 1st Violins , and for the first time in his work calls for a Contrabassoon used in all choral parts, as well as instrumental ritornellos.

It is listed as BC D 2d. From Wikipedia, the free encyclopedia.

The Netherlands Bach Society

Passion by J. Retrieved 29 March Masses, magnificat, passions and oratorios by Johann Sebastian Bach. Evangelist List of compositions by Johann Sebastian Bach. Categories : Passions and oratorios by Johann Sebastian Bach. Namespaces Article Talk. Views Read Edit View history.

St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht
St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht
St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht
St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht
St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht
St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht
St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht
St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht
St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht St. John Passion: Part II, No. 28, Er nahm Alles wohl in acht

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